Sunday, June 7, 2015

A wait for most of us is like a
corollary to hope. As an oxymoron, often end of wait not only results in fructification
of hope but also it coincides with the climax of a story post which there is
nothing to wait for. It is rather the end of a tunnel wherein a new hope, a new
story or a new wait restarts. As the noted American novelist, Sharon Creech eloquently
expressed in her book Absolutely Normal Chaos - “Then I thought, boy, isn't that just typical? You wait, and wait, and
wait for something, and then when it happens, you feel sad.” It’s a similar
kind of emotion with Durga Puja every year for us Kolkatans. The wait starts
right after the idols are carried out of the Pandals for immersion. The mind literally
succumbs to its latent juvenility and starts calculating the number of days
left for the Devi to return to Her backyard next year. Its identical with
everyone in Kolkata. This can easily be termed as Kolkata’s annual anticipatory
sentiment. Yes, Kolkata has its own other yearly landmarks like the
Christmas-New Year Week Bash, the Book Fair, the soccer derby between the
arch-rivals East Bengal & Mohun Bagan but none can emulate the spectacle of
Durga Pujas. It is by far theEl Clásico of Kolkata. The festival encompasses one and all, and hence this anticipation
runs across gender, age and socio-economic strata. This is what gives this
festival a holistic tone, a universal flavour and an endemic following.

As we’ve discussed in my
earlier blogs, Durga Puja in Kolkata has definitely become the largest
exhibition of popular temporary street art in the world. India, as a nation,
can boast of being an extraordinary blend of innumerable traditions, philosophies,
ethnicities, etc which a lot of Puja organisers have taken advantage of and,
over the years, patronised various Indian aboriginal art forms. They have regularly
showcased diverse architecture and art works influenced by multiple cultures
from various states of India. One can classify these influences broadly into
two categories – Pure Structural Replicas and Conceptual Designing based on several
native Art Forms. Genetically, Bengalis have always been a travel-friendly community
but only a limited few could actually visit the innumerable landmarks which lay
beyond their state boundaries. By recreating such sights & attractions the
Clubs touched a chord with all those who did not have the means to travel and
experience these wonders at their original whereabouts. Dreary localities of
Kolkata metamorphose into provisional facsimiles of distant landmarks and/or
even landscapes. A tiny clearing near James Long Sarani in Behala in 2009 mutated
into a Jagdamba Devi Temple Complex of the Garhwal Himalayas; in 2008 a queer space
near Ultadanga was rechristened into an Amba Mata Temple Complex; a small
ground in Putiary was transformed into a Kathputli (String Puppet Theatre)
Village native to Rajasthan in 2010; a square at Kasba in 2012 was masterfully
converted into an Andhra Pradesh settlement displaying their indigenous
Kalamkari Art and Kondapalli Toys; and then there was the Truck Art of the
North West Frontier provinces which got showcased in Hatibagan in 2013. The
aforesaid specimens are just some of the very few cases where artworks of
distant lands have been displayed by various clubs. In this piece, I’ll try and
present an assortment of some of the best presentations demonstrating artworks
and illustrations from across the length and breadth of our own diverse nation
which renders a spectrum of varied cultures.

The deluge of experimenting
with different forms of Indian art somewhat started in the later part of 90’s
and early 2000’s and ever since numerous specimens of not only common but also
forgotten and often overlooked art legacies have been displayed by the
organisers to add perspective and merit to this spectacle. The experiments with
art forms have become more authentic, detailed and sometimes really complex
which take more than 3-4 months to give shape. Bona fide artisans are being
employed by Clubs who are imported from native locations to try and add to the
legitimacy of the artworks created, thereby sky-rocketing the budgets. But the
Barowaris have been particularly bullish about continuing to patronise diverse
cultural forms and till now we’ve been fortunate enough to witness some fine
samples of creativity from distant corners of India, which otherwise would have
certainly remained in obscurity from the eyes of the ever appreciative mass.

Following are some of the
handpicked specimens of Indian art varieties…. some lesser known, some
popular…. which have been exhibited by various Clubs of Kolkata over the past
few years….

Mitali
(2008)

Kantha is the predominantly the
most popular form of embroidery practiced by the rural women of Bengal &
Odisha. This Kantha work was portrayed with a nice twist where the motifs were woven
and stitched on a Jute Base. Loved the
colours used and the intricacy of the image (top middle) here, depicting Chhinnomawsta (The
Beheaded).... Wonderfully Hand-crafted....

Hatibagan
Nabin Pally (2013)

Truck Painting and decorating
has emerged as a vivacious form of modern folk art in India. Introduced in
Afghanistan and Pakistan, the practice has its prevalence in the North Western
states of Punjab & Haryana. Each truck is hand crafted using paint and
vinyl by skilled artisans. Trucks are vividly embellished with art and symbols
that are found to be common across most commercial vehicles. Amidst the
eternal trans-border anarchy, Gopal Poddar portrayed this very aesthetically
and having always loved kitsch I adored this form of kitschy art form.

Vivekananda
Park Athletic Club, Haridevpur (2006)

Alpana, the form of Rangoli
practiced in Bengal, is a natural representation of the artistic sensibility of
the people. Practiced usually by the womenfolk of the state, this domesticated art
form represents an amalgamation of past and contemporary designs. Alpana
Art Patterns was the primary thought behind the conceptualisation of this Puja,
embellished with ethnic Rice Milk Chaalchitra Art all over the Mandap.... the
bright usage of colours and the uncluttered Mandap caught my imagination....

Dum
Dum Park Bharat Chakra (2009)

Cane and Bamboo Craft is a huge
cottage industry which serve livelihood for a substantial tribal population of Bihar,
Bengal & Odisha. Bamboo split lengthways is made pliable and mad einto
baskets of different shapes and sizes in accordance with its usage. Deriving
extensively from these Cane baskets (Jhuri in Bengali) woven by artisans of
Tamluk in Midnapore, this Puja committee brought together religion and folklore
under one roof.... a super work of traditional yet simple art.

Ultadanga
Sangrami (2013)

The Gond community is Madhya
Pradesh & Chhattisgarh’s largest tribes and their art is an expression of
their everyday quest for life. Gond Art resonates with the belief that
"viewing good image begets good luck". This integral credence led the
Gonds to decorating their houses and the floors with traditional tattoos and
motifs subsequently transposing onto paper and canvas. Language of the soul is
expressed in the brilliant hues of Gond Art. A beautiful Prasanta Pal
display based on this folk art bagged them Asian Paints Shaarod Samman for the
year.

Lalabagan
Jubak Brinda (2011)

The waning art of Shellac Dolls
of Bengal was displayed beautifully by the creative duo of Anirban Das &
Parimal Pal. They were typically found in Midnapore & Birbhum districts
made by a class of Hindu artisans called Nuri-s. Shortage of raw materials
compelled the Nuri’s to look for other employment when Rabindranath Tagore
patronised this art at Shantiniketan and saved it from passing into oblivion.
The themes of these brightly coloured dolls included the famed Wheat Crusher
(Gawmpeshani), the Horse Rider (Ghowrshawar) and a variety of fruits.

Kankurgachhi
Jubak Brinda (2014)

A reconstruction of a state
festival which resonated brilliantly not only the local art but the surrounding
cultural extravaganza as well. An excellent reprise of Odisha’s Rath Yatra. Impressive
Wood Carvings. Outstanding Detailing. Coming of Age of Conceptualiser, Anirban
Das. Deserved Winner of Asian Paints Sharad Samman.

Abasar
Sarbojanin (2008)

Godna (or Godhna) Art is one of
the most pioneering yet little known art forms which comprises of permanent
ornamentation of the female body with tattoos and is believed to be an
adaptation of primitive art. In its current form, Godna images are practised by
a handful of women of Jamgala, a village in Sarguja in Chhattisgarh. This art
form was brought to life by a brilliant display through Murals and Wall Art.
The simplicity of the displays and their effortless amalgamation with the sense
of festivity were definitely sights to behold.

Bosepukur
Talbagan (2012)

Kalamkari Art, Kondapalli
toys, metal ware of Pembarthi of Andhra
Pradesh were used to decorate the Pandal. Kalamkari art is unique in its use of
colour as a medium to portray mythological characters from Ramayana and
Puranas. Kondapalli toys are quite pre- dominant in the world of handicraft. Nimble
fingered artisans carve with aplomb, as characters emerge and evolve from light
soft wood. Pembarthi metal craft is famed worldwide for its unmatched
Brassware tradition.

Pally
Unnayan Samity, Paschim Putiary (2010)

Kathputli Dance is a very
popular version of string puppetry in Rajasthan. The marionettes are made
entirely from wood covered with cotton cloth and tied with a metal wire which
acts as string that passes from the top of the puppet to be manipulated by the skilful
puppeteers. This colourful presentation was depicted masterfully with Kathputli
imagery and frescos all over the Pandal.

Tridhara
(2014)

The unique masks of Sikkim,
mostly made of wood, cannot be thought of as works of art alone. They serve
multiple functions, expressing a variety of human emotions, as well as
representing deities, birds, animals, demons in their various moods. In popular
culture, masks are known to conceal — the Mount Kanchendzonga, Mahakala and the
Garuda or Eagle — which have created a sacred place for themselves in Sikkimese
history and culture. President’s Awardee Gouranga Kuilya presented a gaudy display
of this quaint art form that won the all-round appreciation of the masses.